歌曲风格: Trance,Club/Dance,Progressive, Trance,Techno
这是一张不算杰出, 却爽耳好听的东西. 最近的日子听得比较多, 就象遇见了一位很帅气的男子, 虽然在广告中看过许多相似的面孔, 却仍忍不住频频回头.
打开音箱, 扑面而来的是一连串熟悉的元素:Trance,Techno,Big Beats,House, 也仿佛在音律中瞅见The Chemical Bothers,Fatboy Slim, The Orb, Basement Jaxx的身影. Anyway, 经过Timo Maas的熟稔手法, 每一道菜还是被烹调得生动好味. 开首的"Help Me", 萦绕着恐怖片的诡异旋律, R&B女歌手Kelis的声音也显得闷热; "Shifter"中80年代的电音与MC Chickaboo的唱白, 搭配得相当的catchy上耳;"Hash Driven"中的hip hop节拍隐隐透着一股东方的怡然清淡; 而"O.C.B."则是另一派中东风情;"Bad Days"玩起了电子ambient, 比较有催眠的效果...
Timo Maas是一名最近几年在欧洲Club窜红的德国DJ, 虽然之前也出过两张专辑,"Loud"却被认为是他的"artist debut". 在经常偏于公式化的电子舞曲界, 无疑Timo Maas还是做出了打着"Maas"品牌的坚实音乐.
1999年Timo Maas因为Azzido Da Bass的年度单曲“Doom's Night”做了一个绝佳完美的混音版本而声名大噪，也从此奠立了他在电子舞曲音乐界的地位，流行天后Madonna，英伦流行庞克乐团Placebo，超级天王DJ／制作人Fatboy Slim及新一代饶舌女歌后Kelis的新作品中不约而同地指定这位来自德国的大DJ做混音版本，人气之旺盛有如票房保证一般。
已多次名列DJ杂志票选的年度百大DJ之列的Timo Maas，终于在众人的期盼下发表了首张个人专辑《Loud》 (先前曾分别在2000及2001出版两张DJ混音专辑，分别是《Music for the Maases Vol.1》－同时获选《Ministry》及《Mixmag》两本杂志的年度专辑，及《Connected》收录14首创作曲，包括他去年打入top 40的代表作《Ubik》。而选自Timo最新专辑《Loud》中的首支单曲“To Get Down”已名列英国名DJ Pete Tong具指针性的Essential New Tune歌单，同时也获德国舞曲音乐奖(German Dance Awards)肯定。英国Garage著名女MC Chickaboo献声助唱的单曲“Shifter”感染力十足，而Timo Maas在制作及编曲上的功力，在此曲中有令人惊艳的神奇展露，就是一首注定要成为目光焦点的新经典。而此辑也已被选为新一期《MUZIK杂志》(2002三月号)的本月专辑《Album of the Month》，不同于先前所发行的混音专辑，强调选曲，接歌及节奏的流畅编排，在专辑中有所释放出来的电子音乐美感，更胜于前作，也更充份呈现Timo Maas在DJ及音乐制作方面的超高技能。
听完整张专辑，保证让你有Timo Maas不只是DJ Timo Maas，更像是一个舞功高强的电乐骑师，为电子舞曲音乐开创出一个美妙
Düsseldorf's Timo Maas is mostly associated with his involvement in Germany's trance scene as a DJ and producer. Often misspelled by Americans as Timo Mass, he gained a large global at the height of the global trance music scene, which had a large push from DJs such as Paul Van Dyk and Sandra Collins in the mid- to late '90s.
Maas' first exposure to music came via listening to the radio when he was young. He bought his first record when he was nine and his first pair of turntables when he was 17. His earlier gigs were around Germany playing mostly Top 40 records at bars, sneaking in the occasional techno record. In 1982 he played his first real official set in the basement of a friend's house at a party and was booked a lengthy six years later for his first official all-techno gig. He was introduced to the rave scene in 1992, in its early German days, through a booking at an Easter rave. Following were a long string of big rave events and local exposure. The production bug first bit Maas in the early '80s, but his first record, "The Final XS," was not released until 1995. Called cheesy by Maas himself, the record did not do very well in most markets. Shortly after, he teamed with producer Gary D on the more successful "Die Herdplatte" record. Gary D also landed Maas a residency at one of Hamburg's better-known clubs, Tunnel, from 1994 to 1996.
Connections in England later brought Maas to the Bristol-based progressive house club Lakota and the label Hope Recordings. During 1996-97, he released singles through labels including Hope, Lakota, Phuture Wax, and UK44, as well as an album under his Orinoko moniker. He also recorded with manager and mate Leon Alexander under Mad Dogs and Englishmen. In 2000, Timo Maas took a residency at the New York City mega-club Twilo with colleagues Deep Dish. Following the massive success of his Azzido Da Bass remix "Dooms Night" and his own track "Ubik," Maas released 2000's Music for the Maases, a mix album largely composed of his own productions and remixes. After one more mix album, Connected, his production debut Loud appeared in early 2002.
06.That's How I've Been Dancin'
07.We Are Nothing
08.Old School Vibes
10.To Get Down